Film_Analysis

Film Analysis Katie E. Sturdevant ENG 225 Michael O’Donnell December 17, 2009 Film can often times take us beyond our own imaginations, just as easily as reading literature. Film can bring literature to life; it turns our visions of “Neverland” and “Fantastica” into reality. It is as though our eyes can finally experience the words we once read on a page. Films can be simply viewed, or they can be analyzed for a heightened understanding. Therefore, this essay will discuss what makes a film efficient through the analysis of film. In order to analyze a film, we must minimize our presumptions and prejudgments of a film. For example, we have to recognize that we might be drawn towards beautiful people. Therefore, watching the awkward face of Paul Rust playing Denis, in the movie, I Love You, Beth Cooper (Columbus, 2009), could inhibit us from experiencing the sincerity of the hidden theme. The hidden theme of anything is possible in this movie could be lost on the character’s less than perfect appearance. Perhaps it is possible that the dorky, unattractive boy does get the popular, attractive girl. “Others may reject worthwhile movies because of their unwillingness to venture beyond the norm (Boggs & Petrie, 2008. p. 9).” Moreover, once we recognize what we prefer, we can move past those prejudices, and finally appreciate the film. When we reach the point where we can appreciate films for what they are, even if they are not our personal favorites, we can begin to analyze if the film is efficient. Often times, we look for the central idea that seems to be playing before our eyes, theme. To identify a theme, it is best to make a provisional recognition of what we think the film was trying to convey, just after we have viewed the film. It helps to decipher the central concerns in a film, which include all major elements. However, as the film is analyzed, we have to be prepared to change our initial idea of that theme. For example, in Saving Private Ryan, (Spielberg, 1998) we might first believe that it was simply a testimonial in sacrifices and hardships within war. However, when we look closer at the recollection of Private Ryan, as he visits the gravesites, we start to think perhaps there is a greater theme. The theme would be amplifying the necessity of war, but to be very cautious when going to war. War can cause even more damage, so we have to be sure that war justifies the means. World War II jilted a generation of men, some of which died, and some who never completely left the battlefield even in their old age. A movie can prove to be efficient through universality. This can be found in Romeo and Juliet (Zeffirelli, 1968). People of all ages can understand the strength of young love. However, people can see how family, obligations, and basic life can get in the way of what you truly want. The tragedy of living without the one you love is also a devastating emotion understood by most. For human beings have the emotional desire to love and be loved. Moreover, this is a story that will have lasting power as the years go by. On the other hand, films with no universal themes can have just as much value, especially if it has “some relevance to our own personal experience (Boggs & Petrie, 2008. p. 36).” Plot can be a useful element in how we analyze and interpret the meaning of a film. The plot usually must be united and credible. The plot has to be interesting and intriguing, in order for the viewers to spend at least an hour and a half of their time watching the film. The movie, Taken (Morel, 2008), finds unity through great suspense. Bryan Willis, played by Liam Neeson, has to use the tools he learned as a spy to find his kidnapped daughter, before it is too late. It encompasses suspense and action, yet has an underlying emotion of the love a father has for his daughter. Theme can be further developed through the film’s characters. A film that encompasses how social stratification such as Wuthering Heights (Wyler, 1939) could interfere with whom we love. Cathy was determined to marry up, despite her feelings for a lowly orphan, Heathcliff. Cathy has an internal conflict that is enhanced with the external conflict we see with Heathcliff. He is constantly challenging her true emotions for him and for class. If Cathy chooses her heart, which is her love for Heathchliff, it will be all she could ever need. Assuming that we can cure her need for the physical aspects of wealth. However, she allows an inner struggle of what others will think take over. If she were to follow after someone who worked in a field, one that had no money, she would be equal to that low status. However, if she were to marry Edgar, she would have the class that she desired. When she realizes that she would rather follow her heart, it is too late. Just as theme can decide if a film is efficient, visual design is also important. It can stimulate the emotional effect and overall style. Visual design consists of many pertinent elements. One of these elements, film stock, can affect our impression of the entire film. If a film is made with smooth-grain film stock, then it will be extremely velvety, almost perfect. This would maximize the love scene, because it visualizes the emotions in an exchange of lovers. However, if the film is made with a rough-grain film stock, then it will be coarse and forceful. This would maximize the encounter with a battle scene such as storming Normandy Beach, in Saving Private Ryan (Spielberg, 1998). Therefore, we could feel the stressed violence that these men were enduring as they came upon the shore of the enemy. In addition to film stock, color palette can further establish these effects. The color palette can set the tone of a film. In the love scenes of The Notebook, (Cassavetes, 2004) there are romantic colors. They are balmy, inviting, and give the appearance of affection and warmth. However, when Noah goes to war, we see colors of grey, black, and the stark white of snow. This leaves a feeling of uncertainty and danger. The warmth and love once felt earlier, in the movie, is replaced for the action portion of this movie. This can also be understood with the sinking scenes of Titanic (Cameron, 1997). We see massive amounts of blue, grey, and black. We literally can feel the ominous, chill coming off the screen. Lighting can also ascertain the desired mood or style. In the movie New Moon (2009), Bella, Edward, and Alice are forcibly escorted the see the Volturi, which governs the secret world of vampires. Therefore, the lighting as they enter the halls leading to the different ancient chambers is dimly lit. There is an underlying sense of being nervous for what is about to happen to them. We comprehend that there is danger ahead, all prompted by color and light. High-key lighting can be the opposite of this feeling, like in Grease (Kleiser, 1978). Grease is a musical that is uplifting and dramatic. The images in this movie come alive with music so they need less shadows and more highlights to achieve this look. There are many different points of view that engage the viewer to experience the movie in a specific way. The camera can be on the sidelines looking on, or it can be in the middle of the action, partaking. Casblanca is a great movie that has the first view. We have a view that is looking through a window to the actors, which removes us from the scene and focuses on what or who could be looking in on them. This can stir a feeling of uncertainty or danger. The film, 300 (Snyder, 2006), captures both of these effects. We can see the battle as a whole, like a witness far away upon a mountaintop. Then, we are catapulted into the battle as though we are participating in the violence of battle ourselves. This is further enhanced when using the indirect-subjective viewpoint. We have a close-up of the actor’s face during the scenes that he is about to murder someone in defense for his own life. Each shot in a movie has a purpose; therefore the cinematic composition is always in a director’s mind. The role of cinematic composition is to direct attention, keep a picture in continuous motion, and produce an illusion of depth. In War Of The Worlds (Spielberg, 2005), there is a scene in which Ray (played by Tom Cruise) is holding the clip to a grenade. There is a close-up of his hand holding this clip, amongst his weird basket-like surroundings of being caged by aliens. We do not focus on the other people in the basket, or even the basket itself. We focus on the clip, and understand there is about to be a massive explosion, in which case there is. Tilting can achieve the continuous motion necessary for cinematic composition. This is displayed in the baseball scene from Twilight (Hardwicke, 2008); when Edward leans down to get a baseball quickly to get the ball back in play. The camera pans down and up again, as Edward picks up the ball. It occupies the viewer with the action packed movement, and what it takes to play a game of vampire baseball. We can also use Twilight (Hardwicke, 2008), as an example in how to effectively establish depth within a film. In this film, the vampires have super human powers, in which throwing a baseball would cover the distance in miles rather than yards with a human. Therefore, it was important to show the baseball traveling at lighting speeds covering endless ground. This was done with a fixed shot on the baseball, tunneling down a line of trees on either side. This use of depth allows the viewer to understand how far the ball had traveled, and therefore how fast a vampire must be to catch it. Another element that is imperative to the overall success of a film is acting. An actor’s duty is to completely encompass the character. The goal is to be entranced by the character in the storyline, and not the actor who is portraying him or her. This can be achieved through realization of the actual character. Realization of a character can be seen through dialogue. Through the dialogue between Harry and Sally, in When Harry Met Sally (Reiner, 1989), we learn that Harry is a pessimist, and Sally is an optimist. The dialogue was effective in achieving this understanding, because of how the dialogue was written. The dialogue was written in a way that was never in breach of character. The lines by Harry or by Sally were appropriately said. Therefore, if the dialogue holds true to the character, and the actor holds true to the character, the movie will have succeeded in the desired effect. “In the early days of the sound of film, the emphasis was placed on the recorded sound that was synchronized with the visual image (Boggs & Petrie, 2008. p. 262).” However, this became restricted and confining, so “filmmakers started to experiment with invisible sound (Boggs & Petrie, 2008. p. 262).” Filmmakers found that invisible sound could be just as effective, possibly more. This can be an effective tool in allowing the viewer to experience a tragic memory with the character. A character walking on a sidewalk could instantly be transported back to the memory with the sound that played out in an earlier scene. Music can be the undertone of a film that gives you goose bumps. It prepares you for the reveal of a scary creature or predator. It can achieve the conclusion or resolved feeling in the end of a film. Conversely, the musical score cannot dominate the movie. We should not notice the ending of a great song, for we should be moving along with the transition. “Generally, the musical accompaniment of dialogue must be extremely subtle and unobtrusive, stealing in and out so quietly that we respond to its effects without conscious awareness of its presence (Boggs & Petrie, 2008. p. 294).” Achieving a successful film can also be regarded with genre. The category in which a movie is placed can be the do or die of a film. If the viewers go into the theater expecting to see an action packed movie, and come out leaving The Notebook (Cassavetes, 2004) they will be extremely disappointed. Therefore, if we are looking for a romantic comedy, we will look for basic repetitions that we identify in a romantic comedy. Sleepless In Seattle (Ephron, 1993), achieves the genre of romantic comedy that we all have come to expect. We get to know each character. We understand the pain Sam is in, since the death of his wife. We also understand how Annie wants the love that Sam had for Maggie, described on a radio show. Then, we start to see them sitting on benches, thinking at the same time, in different places. We begin to think, how can these two meet. We want these two to meet each other. We see the roller coaster almost meetings. Sam’s first sight of Annie, stopping in his tracks as he describes to his son Jonah, that there is no perfect person. The next encounter is one of, he sees her, and she sees him, a trance, then the honking of a car almost running Annie over. We go through all the tugs and pulls of what we want to happen, and therefore we are totally satisfied with the ending result. When we watch genre movies, we come to expect certain things to happen. We expect characters that we will identify with or feel something for. Therefore, when the characters we have been rooting for the entire movie come together, we can completely experience the elation of the finale. It is important to remember “analysis neither claims nor attempts to explain everything about a film (Boggs & Petrie, 2008, p. 8).” There does not have to be a right or wrong answer in film. The purpose of analyzing a film is to gain a better appreciation and understanding of this work of art, which is film. “If we truly love films, we will find that analysis is worth the effort, for the understanding it brings will deepen our appreciation (Boggs & Petrie, 2008, p. 8).” The most important lesson to be learned is to not be afraid of analyzing a film. References: Boggs, J.M., Petrie, D.W. (2008). The Art of Watching Films. (7th ed.) New York: The McGraw-Hill Companies, Inc. Cameron, J. (Director). (1997) Titanic. [Motion Picture]. United States: Twentieth Century-Fox Film Corporation Cassevetes, N. (Director). (2004) The Notebook. 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United States: Amblin Entertainment. Spielberg, S. (Director). (2005). War Of The Worlds. [Motion Picture] United States: Paramount Pictures. Wyler, W. (Director). (1939).Wuthering Heights. [Motion Picture]. United States: The Samuel Goldwyn Company Zeffirelli, F. (Director). (1968). Romeo And Juliet. [Motion Picture]. United Kingdom: BHE Films.